Los

307

Alexej von JawlenskyStilleben mit Serviette Öl auf Malkarton. 38,5 x 48,5 cm. Gerahmt. Unten links

In Modern Art

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Alexej von JawlenskyStilleben mit Serviette Öl auf Malkarton. 38,5 x 48,5 cm. Gerahmt. Unten links
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Alexej von Jawlensky
Stilleben mit Serviette

Öl auf Malkarton. 38,5 x 48,5 cm. Gerahmt. Unten links dunkelblau signiert 'A. Jawlensky' und rechts monogrammiert 'A. J'.

M. Jawlensky/L. Pieroni-Jawlensky/A. Jawlensky 154; Weiler 709 ("Mit Serviette")

Provenienz
Nachlass des Künstlers; Frankfurter Kunstkabinett Hanna Bekker vom Rath (1947); Galerie Alex Vömel, Düsseldorf (1958); Crane Kalman Gallery, London; O'Hana Gallery, London; Sotheby's London, 6.12. 1961, Lot 185; Stuttgarter Kunstkabinett, 37. Auktion 1962, Lot 172; Privatsammlung Süddeutschland

Ausstellungen
u.a. Erfurt/Leipzig/Weimar/Jena 1922 (Kunstvereine), Alexej Jawlensky; Frankfurt 1947 (Kunstkabinett Hanna Bekker vom Rath ), Nr. 11; Düsseldorf 1958 (Galerie Alex Vömel), Alexej Jawlensky Kat. Nr. 1; Frankfurt/Hamburg 1967 (Frankfurter Kunstverein/Kunstverein Hamburg), Jawlensky, Kat. Nr. 111 mit ganzseitiger Abb.; Wiesbaden 2014 (Museum Wiesbaden), Horizont Jawlensky - Alexej von Jawlensky im Spiegel seiner künstlerischen Begegnungen, 1900-1924, Kat. Nr. 42 mit ganzseitiger Farbabb. S. 145

Literatur
Rolf Schenk/Catherine Franke-Schenk (Hg.), Hundert Jahre mit der Kunst. 1913 bis 2013. Jubiläumsausstellung Kunstsalon Franke-Schenk, München 2013, Bd. II, Kat. Nr. 11, S. 89 mit ganzseitiger Abb.

Die französische Malerei des ausgehenden 19. Jahrhundert, namentlich die der Maler Vincent van Gogh, Paul Gauguin und Paul Cézanne war für Nichtfranzosen wie Alexej von Jawlensky und Marianne von Werefkin oder Wassily Kandinsky und Gabriele Münter eine Offenbarung. Besonders der Besuch der Fauves-Ausstellung in Paris 1905 bringt dem im russischen Torschok geborenen und seit 1896 in München lebenden Künstler Gewissheit, sich dem französischen Nach-Impressionismus, dem sogenannten Pointillismus eines Georges Seurat und Paul Signac probeweise anzuschließen und mehr noch den von Henri Matisse, André Derain und Maurice de Vlaminck weiterentwickelten Malstil der „Fauves“ (die Wilden) zu studieren und damit seine, für ihn typische, expressionistisch-fauvistische Palette zu kreieren. Und er wird es auch sein, der Kandinsky und Münter kurze Zeit später während ausgedehnter Aufenthalte in Murnau am Staffelsee anhalten wird, sich von traditioneller Form- und Farbzuordnung in der Malerei zu trennen, um sich einer von akademischen Betrachtungsweise und Lehre befreiten, in den Farben ungezwungen Malerei zu widmen.
Zurück aus Frankreich in München und Wasserburg am Inn wird sich Jawlensky in Landschaften mit und ohne Häuser, in Porträt- und Stilllebenmalerei üben und bei dem einen oder anderen Sujet Gesehenes in Erinnerung an die Väter der Moderne verarbeiten, wie dieses mit Cézanne spielende Stillleben mit Serviette. Die bisweilen nüchtern, cézannesque wirkende Darstellung von Schale und Obst zeigt in besonderer Weise Jawlenskys verinnerlichten Umgang mit diesem klassischen Sujet. Aber im Gegensatz zu den meist strengen Vorbildern eines Cézannes modelliert und bindet Jawlensky die Atmosphäre auf wunderbare Weise ein, lässt gedämpftes Abendlicht im Sonnenuntergang, so scheint es, über den Tisch fließen und das Arrangement aus Birnen und Äpfeln so in einem zurückgenommenen Licht wie verschwommen erscheinen. Das kräftige Orange im Kontrast zum Grün und Gelb vor gedämpften Blautönen zeigt, wie selbstverständlich Jawlensky mit den Bildthemen seiner Zeit umzugehen vermag.

Alexej von Jawlensky
Stilleben mit Serviette

Oil on artist's board. 38.5 x 48.5 cm. Framed. Signed 'A. Jawlensky' in dark blue lower left and monogrammed 'A. J' right.

M. Jawlensky/L. Pieroni-Jawlensky/A. Jawlensky 154; Weiler 709 ("Mit Serviette")

Provenance
Artist's estate; Frankfurter Kunstkabinett Hanna Bekker vom Rath (1947); Galerie Alex Vömel, Düsseldorf (1958); Crane Kalman Gallery, London; O'Hana Gallery, London; Sotheby's London, 6.12. 1961, lot 185; Stuttgarter Kunstkabinett, 37. auction 1962, lot 172; Private collection, South Germany

Exhibitions
I.a. Erfurt/Leipzig/Weimar/Jena 1922 (Kunstvereine), Alexej Jawlensky; Frankfurt 1947 (Kunstkabinett Hanna Bekker vom Rath ), no. 11; Düsseldorf 1958 (Galerie Alex Vömel), Alexej Jawlensky cat. no. 1; Frankfurt/Hamburg 1967 (Frankfurter Kunstverein/Kunstverein Hamburg), Jawlensky, cat. no. 111 with full-page illus.; Wiesbaden 2014 (Museum Wiesbaden), Horizont Jawlensky - Alexej von Jawlensky im Spiegel seiner künstlerischen Begegnungen, 1900-1924, cat. no. 42 with full-page colour illus. p. 145

Literature
Rolf Schenk/Catherine Franke-Schenk (ed.), Hundert Jahre mit der Kunst. 1913 bis 2013. Jubiläumsausstellung Kunstsalon Franke-Schenk, Munich 2013, Vol. II, cat. no. 11, p. 89 with full-page colour illus.

French painting of the late 19th century, particularly that of the painters Vincent van Gogh, Paul Gauguin and Paul Cézanne, was a revelation for non-French artists like Alexej von Jawlensky and Marianne von Werefkin or Wassily Kandinsky and Gabriele Münter. It was particularly his visit to the Fauves exhibition in Paris in 1905 that provided Jawlensky, who was born in the Russian town of Torzhok and had been living in Munich since 1896, with the certainty he needed to provisionally embrace French post-impressionism - the so-called pointillism of artists like Georges Seurat and Paul Signac - and additionally to study the painting style of the “Fauves” (wild beasts) - which Henri Matisse, André Derain and Maurice de Vlaminck had further developed - leading to the creation of his own characteristic Expressionist-Fauvist palette. And he was also the one who shortly thereafter, during an extended stay in Murnau, persuaded Kandinsky and Münter to part with traditional arrangements of shapes and colours in painting and to devote themselves to a painting liberated from academic views and teachings and unconstrained in it use of colour.
Having returned from France, Jawlensky was working in Munich and Wasserburg am Inn and practising landscape with and without houses, portraiture and still life - now and then using his subject matter to process what he was looking at through his recollections of the fathers of modern art. This is the case in Stillleben mit Serviette, which plays on the work of Cézanne. The sometimes austere, Cézanne-like depiction of the bowl and fruit provides an exceptional demonstration of the approach to this classic subject internalised by Jawlensky. However, in contrast to the generally severe prototypes by Cézanne, Jawlensky has modelled and integrated the atmosphere in a wonderful manner, allowing the muted evening light of the sunset to seem to flow across the table, thus causing the arrangement of pears and apples to appear within the subdued light as though in a haze. The striking orange contrasted with green and yellow before the muted tones of blue shows the natural ease with which Jawlensky was able to deal with the motifs of his time.
Alexej von Jawlensky
Stilleben mit Serviette

Öl auf Malkarton. 38,5 x 48,5 cm. Gerahmt. Unten links dunkelblau signiert 'A. Jawlensky' und rechts monogrammiert 'A. J'.

M. Jawlensky/L. Pieroni-Jawlensky/A. Jawlensky 154; Weiler 709 ("Mit Serviette")

Provenienz
Nachlass des Künstlers; Frankfurter Kunstkabinett Hanna Bekker vom Rath (1947); Galerie Alex Vömel, Düsseldorf (1958); Crane Kalman Gallery, London; O'Hana Gallery, London; Sotheby's London, 6.12. 1961, Lot 185; Stuttgarter Kunstkabinett, 37. Auktion 1962, Lot 172; Privatsammlung Süddeutschland

Ausstellungen
u.a. Erfurt/Leipzig/Weimar/Jena 1922 (Kunstvereine), Alexej Jawlensky; Frankfurt 1947 (Kunstkabinett Hanna Bekker vom Rath ), Nr. 11; Düsseldorf 1958 (Galerie Alex Vömel), Alexej Jawlensky Kat. Nr. 1; Frankfurt/Hamburg 1967 (Frankfurter Kunstverein/Kunstverein Hamburg), Jawlensky, Kat. Nr. 111 mit ganzseitiger Abb.; Wiesbaden 2014 (Museum Wiesbaden), Horizont Jawlensky - Alexej von Jawlensky im Spiegel seiner künstlerischen Begegnungen, 1900-1924, Kat. Nr. 42 mit ganzseitiger Farbabb. S. 145

Literatur
Rolf Schenk/Catherine Franke-Schenk (Hg.), Hundert Jahre mit der Kunst. 1913 bis 2013. Jubiläumsausstellung Kunstsalon Franke-Schenk, München 2013, Bd. II, Kat. Nr. 11, S. 89 mit ganzseitiger Abb.

Die französische Malerei des ausgehenden 19. Jahrhundert, namentlich die der Maler Vincent van Gogh, Paul Gauguin und Paul Cézanne war für Nichtfranzosen wie Alexej von Jawlensky und Marianne von Werefkin oder Wassily Kandinsky und Gabriele Münter eine Offenbarung. Besonders der Besuch der Fauves-Ausstellung in Paris 1905 bringt dem im russischen Torschok geborenen und seit 1896 in München lebenden Künstler Gewissheit, sich dem französischen Nach-Impressionismus, dem sogenannten Pointillismus eines Georges Seurat und Paul Signac probeweise anzuschließen und mehr noch den von Henri Matisse, André Derain und Maurice de Vlaminck weiterentwickelten Malstil der „Fauves“ (die Wilden) zu studieren und damit seine, für ihn typische, expressionistisch-fauvistische Palette zu kreieren. Und er wird es auch sein, der Kandinsky und Münter kurze Zeit später während ausgedehnter Aufenthalte in Murnau am Staffelsee anhalten wird, sich von traditioneller Form- und Farbzuordnung in der Malerei zu trennen, um sich einer von akademischen Betrachtungsweise und Lehre befreiten, in den Farben ungezwungen Malerei zu widmen.
Zurück aus Frankreich in München und Wasserburg am Inn wird sich Jawlensky in Landschaften mit und ohne Häuser, in Porträt- und Stilllebenmalerei üben und bei dem einen oder anderen Sujet Gesehenes in Erinnerung an die Väter der Moderne verarbeiten, wie dieses mit Cézanne spielende Stillleben mit Serviette. Die bisweilen nüchtern, cézannesque wirkende Darstellung von Schale und Obst zeigt in besonderer Weise Jawlenskys verinnerlichten Umgang mit diesem klassischen Sujet. Aber im Gegensatz zu den meist strengen Vorbildern eines Cézannes modelliert und bindet Jawlensky die Atmosphäre auf wunderbare Weise ein, lässt gedämpftes Abendlicht im Sonnenuntergang, so scheint es, über den Tisch fließen und das Arrangement aus Birnen und Äpfeln so in einem zurückgenommenen Licht wie verschwommen erscheinen. Das kräftige Orange im Kontrast zum Grün und Gelb vor gedämpften Blautönen zeigt, wie selbstverständlich Jawlensky mit den Bildthemen seiner Zeit umzugehen vermag.

Alexej von Jawlensky
Stilleben mit Serviette

Oil on artist's board. 38.5 x 48.5 cm. Framed. Signed 'A. Jawlensky' in dark blue lower left and monogrammed 'A. J' right.

M. Jawlensky/L. Pieroni-Jawlensky/A. Jawlensky 154; Weiler 709 ("Mit Serviette")

Provenance
Artist's estate; Frankfurter Kunstkabinett Hanna Bekker vom Rath (1947); Galerie Alex Vömel, Düsseldorf (1958); Crane Kalman Gallery, London; O'Hana Gallery, London; Sotheby's London, 6.12. 1961, lot 185; Stuttgarter Kunstkabinett, 37. auction 1962, lot 172; Private collection, South Germany

Exhibitions
I.a. Erfurt/Leipzig/Weimar/Jena 1922 (Kunstvereine), Alexej Jawlensky; Frankfurt 1947 (Kunstkabinett Hanna Bekker vom Rath ), no. 11; Düsseldorf 1958 (Galerie Alex Vömel), Alexej Jawlensky cat. no. 1; Frankfurt/Hamburg 1967 (Frankfurter Kunstverein/Kunstverein Hamburg), Jawlensky, cat. no. 111 with full-page illus.; Wiesbaden 2014 (Museum Wiesbaden), Horizont Jawlensky - Alexej von Jawlensky im Spiegel seiner künstlerischen Begegnungen, 1900-1924, cat. no. 42 with full-page colour illus. p. 145

Literature
Rolf Schenk/Catherine Franke-Schenk (ed.), Hundert Jahre mit der Kunst. 1913 bis 2013. Jubiläumsausstellung Kunstsalon Franke-Schenk, Munich 2013, Vol. II, cat. no. 11, p. 89 with full-page colour illus.

French painting of the late 19th century, particularly that of the painters Vincent van Gogh, Paul Gauguin and Paul Cézanne, was a revelation for non-French artists like Alexej von Jawlensky and Marianne von Werefkin or Wassily Kandinsky and Gabriele Münter. It was particularly his visit to the Fauves exhibition in Paris in 1905 that provided Jawlensky, who was born in the Russian town of Torzhok and had been living in Munich since 1896, with the certainty he needed to provisionally embrace French post-impressionism - the so-called pointillism of artists like Georges Seurat and Paul Signac - and additionally to study the painting style of the “Fauves” (wild beasts) - which Henri Matisse, André Derain and Maurice de Vlaminck had further developed - leading to the creation of his own characteristic Expressionist-Fauvist palette. And he was also the one who shortly thereafter, during an extended stay in Murnau, persuaded Kandinsky and Münter to part with traditional arrangements of shapes and colours in painting and to devote themselves to a painting liberated from academic views and teachings and unconstrained in it use of colour.
Having returned from France, Jawlensky was working in Munich and Wasserburg am Inn and practising landscape with and without houses, portraiture and still life - now and then using his subject matter to process what he was looking at through his recollections of the fathers of modern art. This is the case in Stillleben mit Serviette, which plays on the work of Cézanne. The sometimes austere, Cézanne-like depiction of the bowl and fruit provides an exceptional demonstration of the approach to this classic subject internalised by Jawlensky. However, in contrast to the generally severe prototypes by Cézanne, Jawlensky has modelled and integrated the atmosphere in a wonderful manner, allowing the muted evening light of the sunset to seem to flow across the table, thus causing the arrangement of pears and apples to appear within the subdued light as though in a haze. The striking orange contrasted with green and yellow before the muted tones of blue shows the natural ease with which Jawlensky was able to deal with the motifs of his time.

Modern Art

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Köln
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